Exhibitions Archive
Joan Miro and Dorothea Tanning's Surrealist Exlporations of the Unconscious
Discovering Identity Through ArtA History of Viewing from the Renaissance to the Present Day
The Art of Spectatorship
This companion to the course Introduction to Art History II focused on five topics- devotional images, artistic presence in a work of art, voyeurism and the female nude, portrayals of social class and conflict, and artistic quotation and appropriation-surrounding the changing experience of viewing art from the Renaissance to the present day. Images such as Saint Veronica's Sudarium (about sixteenth century), which presents the miraculous transference of Christ's image to Veronica's handkerchief upon route to the crucifixion, appeared alongside Dana Salvo's Mendoza Household Shrine (about 1995), a photograph of a homemade altar with plastic fruits and artificial lights. Other groupings included images of nude classical goddesses and Reginald Marsh's mid-twentieth-century tempera paintings of a New Jersey striptease. Depictions of class convergence in city streets by artists ranging from Honore Daumier to John Sloan further explored the exhibition's themes.
The Art of the Stripe
Sean Scully
Sean Scully has moved steadily over the past three decades to his current position in the highest rank of painters working in the abstract tradition. The recent American touring exhibition Wall of Light, which concluded to very positive reviews at the Metropolitan Museum of Art in New York, is currently being succeeded by a major touring show in Europe. Scully began painting in the late 1960s and early 1970s amid the dominance of Op Art in Britain. He then moved to America, where, after five years of struggle, he found his painterly voice in the stripe. Scully has relentlessly pursued the possibilities offered by his exploration of colored stripes, always remaining true to his assertion that "the stripe is a signifier of modernism." The Hood's exhibition explores Scully's work since the early 1970s and culminates with the first showing in America of the artist’s beautiful series Holly, made in memory and in honor of his mother. Along with over twenty large oil paintings, a small selection of photographs demonstrates Scully's fascination with the architectural structures of our built environment, the inspiration of so much in his abstract paintings.
Visual Humor in Ideas of Race, Nationality, and Ethnicity
No Laughing MatterThis fall term, Dartmouth College Humanities Institute participants, including visiting residential fellows and several Dartmouth faculty members, are meeting weekly on campus to investigate the impact of visual humor on history, psychology, culture, and everyday life from multiple perspectives. No Laughing Matter is led by David Bindman (Morton Distinguished Fellow) and Angela Rosenthal (Dartmouth Institute Director), under the auspices of the Leslie Center for the Humanities, Dartmouth College, with the participation of the Yale Center for British Art and the Du Bois Institute of African and African-American Studies at Harvard. The Humanities Institute will host an international conference, November 8-11, 2007. The Hood exhibition has also been organized in conjunction with the Northeast American Society for Eighteenth-Century Studies Annual Meeting and conference, October 25-28, 2007, which will host a special panel titled Visual Humor in the Global Eighteenth Century in conjunction with the Humanities Institute.
Selected European Masterpieces of the Currier Museum of Art
During the renovation and expansion of the Currier Museum of Art in Manchester, New Hampshire, ten Old Master and early modern paintings and sculptures will be exhibited at the Hood. The European collection from the state's largest museum has long been admired by scholars and art lovers alike. The objects on display range from Renaissance paintings to a rare modernist sculpture and include works by Jacob van Ruisdael, John Constable, and Pablo Picasso.